Tag Archives: Edge of Darkness

The Dad Busters: Celebrating fathers on film

With today being Father’s Day I guess this could have been alternatively called A Good Day to Dad Hard.

This list is in no particular order but for me stand out as some of the key father moments on film. Of course there will be those that don’t get mentioned or that I hadn’t thought of , but that’s the point these are the ones that sprang to mind for me, these are the ones that – on some level – resonate with me as a dad.

Martin Brody in Jaws (1975)

He’s the Chief of Police on Amity Island (in Amity we say yard!) and there is a rogue killer shark on the loose…not bad for a man who hates water. You know what he faces his greatest fear (quite literally) after his eldest son nearly gets taken out by the Great White. His job may be to serve and protect the community but he also wants to do the same for his family.

Jaws is my favourite film of all time, it was made the year I was born and it’s always been a big part of my life, and Roy Scheider as Brody is fantastic as the former New York cop who has moved to the seaside for a quieter life and a better life for his family. In many ways he will see that he has put his family in danger, it is his fault that they have moved in danger’s way. Director Steven Spielberg often makes films with an absent father or films without fathers (take Jurassic Park, E.T., Indiana Jones and the Last Crusade for example) due to the break up of his own parents marriage when he was young but the dad plays a major part in this film.

Father wise it’s a small moment for why Jaws is chosen and its one of the film’s brief interludes where his youngest child, Sean Brody, is sat with his dad at the dinner table and his young son copies his each and every move. It’s poignant and full of sheer warmth and is expertly delivered by Spielberg who manages to eek such moments out of young actors. For me is shows how important those little moments are, how attune young kids are and how…no matter what else is going on in the world…they bring you back down to earth and show you what is really important and really matters.

Jor-El in Superman (1978)

You often hear of stories about people going back into burning buildings to save their children or people giving up their lives so that their children can have a chance of survival. It’s weird but until you become a mum or dad you kind of get it but you don’t really understand it, you will do anything to ensure that they are safe and secure, that they will survive.

This brings me to self sacrifice. Kal-El (AKA Superman) survived because of his dad, because he was looking out for him, because he and his wife sacrificed themselves so that they could survive.

Marlon Brando was paid an astounding (nay super) salary of $3.7 million and a percentage of the profits  for  12 days shooting but he was certainly worth every penny with the gravitas he has in his scenes, a gravitas he carries through to Earth when a young Clark Kent is listening to his words of wisdom, the words that he will live by, the words that turn him into a superman.

Our dads all impart words of wisdom to us, why might not always think it is at the time but over time we’ll revisit it and find us using some of those very same words ourselves. Also see Mufasa in The Lion King, another sacrifice and a dad with wise words imparted to his son that are echoed again later.

George Kirk in Star Trek (2009)

Before he was Thor but after he was Kim in Home and Away, Chris Hemsworth played Kirk Snr in the opening of the JJ Abrams reboot of Star Trek. Again like with Superman before it this is about sacrifices and although the father and son bond is fleeting – he gets to hear the cry of his new born son moments before his death, a death that saved countless others, including his wife and son.

George Kirk evacuating the crew of the USS Kelvin, including his wife and unborn son, as he sends it into the enemy craft is an amazing piece of cinema as his death is juxtaposed with the birth of his son. It’s a great opening to the film as initially we are only introduced to him as Kirk – so some of the new to Trek audience will think it is James T –  and it is also the birth of a legend, talk about an apt introduction.

It’s the strongest moment of the new Trek universe that has yet to be equalled, nevermind bettered in its execution.

Bryan Mills in Taken (2008)

When I was growing up Brian Mills was a catalogue, now he’s a kick-ass former special ops dad in a leather jacket played by Liam Neeson who acts as a sometime bodyguard for Holly Valance. Neeson himself thought the film to be no more than a straight to video thriller but the central crux of the story, his daughters kidnap into a people trafficking ring in France, and particularly the trailer that features the now famous “I have a certain set of skills….I will find you and I will kill you” dialogue over the phone as he speaks to his daughter’s kidnappers sent it into the stratosphere. It’s the pre-kidnap scene where he is telling his daughter to remain calm, to remember details, to hide under the bed…and to prepare to be taken that is the stand out moment for me.

It really touched a primeval nerve that we would do anything and go anywhere to save our sons or daughters or to avenge what has been done to them. He’s the Jack Bauer and the Paul Kersey in all of us, doing whatever and taking out whoever it takes to get the job done. The same could be also said of Russell Crowe in Gladiator after the murder of his wife and son, although he dies at the end his mission is accomplished and he gets want he wants, to be with his wife and son in the afterlife.

This revenge/avenging role is also used to great effect by Mel Gibson in practically everything where he is a wronged dad – see The Patriot, Ransom and Edge of Darkness for details.

Michael Newman in Click (2006)

Like most of Adam Sandler’s films this has plenty of infantile moments, such as repeatedly farting in David Hasselhoff’s face but this It’s A Wonderful Life-esque comedy also has its fair share of well-handled drama. Christopher Walken hands Sandler’s character a TV remote control that can control life itself, pausing or fast forwarding through life…the pefect tool for the over-worked architect fighting for promotion.

It’s a genuine surprise to find such a funny and touching film that has a real emotional core and an important message about spending time with your family taking precedent over your job. Life is short and it can’t be repeated and moments can’t be recaptured, essential to this are great performances by Henry Winkler as Sandler’s dad and with Sandler himself as he grows older, which culminates in his own moving death scene in the pouring rain trying to conect with his own grown up son outside the hospital. It’s this moment that’s my highlight.

The idea isn’t a new one, you’ve only got to look as far as A Christmas Carol and The Family Man for that, but its mix of humour and heart coupled with its contemporary setting and theme of work/life balance shows us it is perhaps more relevant than it ever was.

More than notable mentions also go out to the “I am your father!” scene in The Empire Strikes Back, the baseball game scene where Kevin Costner ‘meets’ his dad in his former cornfield come baseball diamond in Field of Dreams, the interplay of Henry Jones Jr and Sr in Indiana Jones and the Last Crusade, the moving penultimate scene in the original version of The Omen where Robert Thorn hesitates in killing his adoptive son who just so happens to be the son of the Devil, and the Chariots of Fire-inspired scene onwards of Clark W. Griswold in National Lampoon’s Vacation. Perhaps I’ll return to these dads in more detail next year.

Close to the Edge: remembering Edge of Darkness

It’s hard to imagine in this multi-channel universe just how big an impact the thriller Edge of Darkness had when it was first screened on BBC2 back in 1986. In fact the six part nuclear conspiracy thriller, with sci-fi undertones, had such an impact that it was repeated a mere 10 days after its initial run, upgraded onto BBC1, unprecedented at the time.

Edge has of course just been remade, like State of Play before it, for the big screen this time with Mel Gibson replacing the late great Bob Peck in the main role as Ronald Craven, who is searching the truth about the murder of his activist daughter. Both the original BAFTA Award winning series, it swept the boards that year, and the new film were both helmed by Casino Royale director, Martin Campbell.

The thriller was written by the creator of Z Cars, Troy Kennedy Martin, who passed away last year, and was something I first saw in the late 80s and was something that has haunted and captivated me ever since.

Clearly I’m not in the minority as it’s omission from a list of the top 50 TV Dramas in The Guardian caused more than a bit of a grumble recently and it also won BAFTAs for its haunting music, composed by Eric Clapton and Michael Kamen, the latter who went onto become a genre fave, going onto score Highlander, X-Men, Event Horizon and perhaps most famously, Die Hard and Lethal Weapon.

Part crime drama, part science-fiction but totally absorbing, this rarely bettered 80s epic is a real slow burner, no seat of your pants editing here folks, and still commands attention in buckets 25 years later. The cinema remake seems to be getting a bit of a pasting, which is probably now more straight thriller, but don’t let that even think about putting you off the original, it would be like not wanting to take a punt on the original Planet of the Apes after seeing the Burton rehash.

Full of familiar faces from sci-fi and fantasy, Peck went onto feature prominently in Jurassic Park and was one of the main cast in the ill-fated Slipstream. It also featured Joe Don Baker, a feature of three Bond movies, Joanne Whalley, from Willow, John Woodvine from An American Werewolf in London and Zoe Wanamaker from Harry Potter. Of course a special mention has to go out to the shows special effects expert, a veteran of both classic Who and Blake’s 7, Mat Irvine.

Public concerns over nuclear war were at their highest than at any time since the Cuban Missile Crisis, the two previous years having seen The Day After and Threads nuclear blast onto our screens. This, added with the Miners’ Strike and protests at Greenham Common, made Blightly a none too pleasant a place to call home, all of which are touched upon by this conspiracy thriller that chillingly captures the shadowy corridors of power and one man’s grief at the same time.

Trying to understand the reasons behind his daughter Emma’s murder, Craven uncovers a vast conspiracy involving the nuclear industry, environmental terrorism and Britain’s role in the ‘Star Wars’ Strategic Defence System. On his quest, Craven is joined by CIA agent Jedburgh, superbly played by Baker, one critic describing the pairing as “a nuclear Butch and Sundance”, as well as by ‘visions’ of his dead daughter.

So far so thriller, but where is the sci-fi I hear you scream? A thriller about the politics of nuclear power is not science-fiction as such, but this all changes gear in the final episode where Darkness is transformed from being a political thriller into a grim vision of the future.

Apparently, Kennedy Martin wanted to end the series with Peck killed and transformed into a Green Man tree being protecting the Earth, you certainly wouldn’t have found that in Inspector Morse! It would have been a conclusion that would almost certainly have left the audiences of the day…and even now, scratching their heads. It does show that the thriller didn’t just include very real world concerns but also the mythic and the mystical (there must have been something in the water as Robin of Sherwood did the very same thing at around the same time).

This ending was toned down somewhat. This was one of Troy Kennedy Martin’s speculative environmental theories, introducing the idea that the Earth, in the form of Gaia, the Greek goddess responsible for Earth and the name of the group Emma worked for, will protect itself from environmental damage with the creation of black flowers that draw in heat from the sun and create warm patches that allow life to flourish, as it apparently did during the Ice Ages. The concept was taken from a section in climate scientist, James Lovelock’s book Gaia: A New Look at Life on Earth (1977).

Thus, in the haunting last image of the series, we see black flowers growing in the hills of the Scottish Highlands as man tries at playing God with nuclear materials. The good guys, just like Butch and Sundance, have lost and those in the corridors of power have won for now, until Mother Earth takes her revenge, the black flowers harbingers of Gaia’s coming war against mankind.

One of the other fantastical aspects of the series is the character of Emma, murdered early in the first episode but continues to turn up throughout the rest of the series. Whether Craven is ‘seeing dead people’ or she is a figment of Peck’s grief is ambiguous, personally I believe it is the latter but there has been much argument on both sides.

With the rise of global warming and an endless slew of natural disasters, who is to say that Kennedy Martin didn’t get it right after all, especially as the once dormant spectre of nuclear armament rears its head again. Perhaps 25 years on, the original Edge of Darkness is less of a relic of The Cold War than we think?